Red Riding Hood 

(Chaperon Rouge) 




Caroline W. Thomasson 



The Penn Publishing Company 



Successful Rural Plays 

A Strong List From Which to Select Your 
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HOME TIES. A Rural Play in Four Acts, by Arthur 
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THE OLD NEW HAMPSHIRE HOME. A New 

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THE OLD DAIRY HOMESTEAD. A Rural Comedy 
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A WHITE MOUNTAIN BOY. A Strong Melodrama in 
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THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



RED RIDING HOOD 

CHAPERON ROUGE 



A Play for Children in 
Three Scenes 

arranged to be given in 
English or in French 



By 
CAROLINE WASSON THOMASON 

author oj 
"Cinderella," "The Three Bears," etc. 



^ 



THE PENN PUBLISHING COMPANY 

PHILADELPHIA 
1920 



'\ 



/1^^ 



COPYRIGHT 
19 19 BY 
THE PENN 
PUBLISHING 
COMPANY 




Red Riding'Hood 

Chaptron Rouse 

TMP96-006326 

\rhb 27 1920 



Q)G,.D 5.-^9 3 



RED RIDING HOOD 

CHAPERON ROUGE 



CHARACTERS 

Personnages 

RED RIDING HOOD Chaperon Rouge 

THE WOLF Le Loup 

THE MOTHER La Mere 

THE GRANDiMOTHER La Grand'mere 

THE WOODSMAN Le Garde Fores tier 

THE NYMPHS OF THE 

WOOD {Four or more) Les Nymphes du Bois 



TIME OF PLAYING Thirty Minutes 



Three Scenes tell the Story: 

I. Near Red Riding Hood's House 
II. In the Wood 
III. In the Grandmother's House 



THE STORY OF THE PLAY 

Red Riding Hood (Chaperon Rouge) visits her 
grandmother and takes her some dainties. On 
the way she falls asleep. The Wood Nymphs 
arouse her before the Wolf comes. The Wolf 
arrives first at the cottage and is in the grand- 
mother's bed when Red Riding Hood arrives. 
The Wolf intends to eat the little girl but is killed 
by the Woodsman. I'he grandmother and 
mother arrive safely, and all, with the Nymphs, 
join in " The Marseillaise." 

COSTUMES, ETC. 

RED RIDING MOOD. Red rain cape with hood, 
very short. Half stockings, and low slippers, 
preferably without heels. 

THE WOLF. His voice is deep and gruff. Scene I. 
Large fur rug over back and head. Walks on 
all fours. Black stockings on hands and feet. 
Scene III. White night gown. Face well cov- 
ered by huge night cap. Wolf's head mask 
adds to the effect but is not essential. 

THE MOTHER. Dutch cap in white. White 
blouse. Black laced bodice. Full red skirt. 

THE GRANDMOTHER. Black Cap. Black shawl. 
Black skirt. Cane. 

THE WOODSMAN. Green cap with feather. 
Belted coat, preferably of bright color. Ax 
and horn in belt. Knee trousers, green stock- 
ings. 

THE NYMPHS. There must be at least four 
Nymphs. There may be as many as desired. 
Green crepe paper dresses — skirts very short 
and full. Garlands of gay flowers on heads, 
and over shoulders. White slippers and stock- 
ings. 



SCENE I. 



SCENE II. 



SCENE III. 



PROPERTIES 

Basket containing loaf of bread, 
butter, some apples, a glass of 
jelly, and some cake. 

Stage set with trees and flowers. 
Flowers for Red Riding Hood to 
pick. Ax and horn for the 
Woodsman. 

Stage set with cot covered with 
patchwork quilt, pillow. Cro- 
cheted rug by cot. Table. Chair. 
Basket of chips for the Grand- 
mother. At least one French 
tricolor to display at the end. 

MUSIC 

The song " The Bird " {L'Oiseau) is set to the 
music of the well known song " Long, Long Ago." 
This may be found in many collections of familiar 
songs, for example, in " The Golden Book of Fa- 
vorite Songs," published at a popular price by F. 
A. Owen Pub. Co., Dansville, N. Y., and Hall 
and McCreary, Chicago. 

The air for the song " Let Us Walk in the 
Woods " (" Prom'nons-nous dans les Bois ") is as 
follows : 




Prom'non-nous dans les bois Tan-dis que le loop n'^ est 
Let us walk in the woods While the wolf is not in 

— IV— tNcd 



^ 



gzzzqvzTJSc: 



-li — # 



li^ 



pas Si le loup y 6 - tait II nous man - ge - rait 
power, If the wolf were a- bout He would us de - vour. 



The air for the song " I am the Wolf" {*' J c 
Suis Loup") is as follows: 




-^tzL- 



i 



-*T 



Je - suis loup, Je - suis loup, Qui vous man - ge - ra ! 
I'm the wolf, I'm the wolf, Who will you de - vour ! 



The air for the song "To Paris" {''A 
Paris") is as follows: 




■Ar- 



t5q==i=H 



A Pa - lis, a Pa - ris, sur un - pe - tit chev - al - gris. 
To Pa - ris. To Pa - ns, on a lit - tie pon - y grey. 



The complete music for these shorter songs 
may be found in the book " Chansons, Poesies, et 
Jeux " (" Songs, Poems, and Plays "), by Agnes 
Godfrey Gay, published by Brentano's, Fifth Ave- 
nue and 27th St., New York City. 

The music for " The Marseillaise " may be 
found in many collections of popular songs. It is 
in " The Golden Book of Favorite Songs " re- 
ferred to above. The English words that are 
found printed with the music may be used, if pre- 
ferred, instead of those given in this text. 



SCENE PLOTS 

SCENE I. Near Red Riding Hood's House. 
This may be acted at the front of the stage be- 
fore the curtain is raised. Or if preferred, it 
may be any simple exterior, or an interior cot- 
tage scene. As the scene is very short, how- 
ever, it should be arranged so that it may be 
quickly replaced by Scene II. 

SCENE II 

CREC/\f CUHTA/N 



CO 
<^ TREES i^l 

1^;^2^ PLANTS r^A/wrsiC ^y 




SCENE II. In the Wood. The above represents 
a simple setting that may be arranged any- 
where with a green curtain for background, 
trees in tubs or boxes, cut boughs or bushes, 
potted plants, and flowers. The boxes or pots 
holding trees or plants should be covered with 
green or brown cloth or paper to represent 
banks of moss or earth. Leaves may be strewn 
over them. 

Or, where painted scenery is obtainable, set 
with woodland back drop and wood wings; 
bushes and flowers massed up stage and down 
R. and L. 



SCENE III 




SCENE III. In the Grandmother's House. The 
setting shown above may be used on any plat- 
form. It requires no painted scenery. A bed 
or couch up L. C, covered with a patchwork or 
other gayly colored quilt. Near the bed a cro- 
cheted rug. Table up R. Stool at R. of bed. 
Chairs and other furnishings appropriate to an 
old woman's cottage. Entrance L. ; or, if de- 
sired, at back, up R. 

Where painted scenery is obtainable this 
should be set as a cottage interior with window 
in flat up L., and door in flat up R., and en- 
trance also at L. Fireplace and mantel R. 
Furnishings as above with addition of kettle at 
fireplace, etc. 



RED RIDING HOOD 

CHAPERON ROUGE 

SCENE I 

{Near RED riding hood's house. This may 
be acted at the front of the stage before the cur- 
tain is raised.) 

{Enter the MOTHER, L., carrying basket.) 

MOTHER. Red Riding Hood, Red Riding 
Hood ! Come here, my Child ! 

Chaperon Rouge, Chaperon Rouge! Viens ici, 
nion enfant/ 

{Enter RED RIDING HOOD, R.) 

R. RIDING HOOD. Yes, yes, my dear Mother. 
What do you wish? 

Oui, oui, ma chere mere. Que veux-tuf 

MOTHER. Your grandmother is sick. So take 
her this basket of dainties, please. 

Ta grand'mere est malade. Done porte-lui ce 
panier de bonnes bouchees s'il te plait. 

9 



RED RIDING HOOD 



R. RIDING HOOD. Lovely ! It pleases me very 
much to go to grandmother's! 

Ties hien! II me donne grand plaisir dialler 
chez grand' mere/ 

MOTHER. Here is the basket. 

Foici le panier. 

R. RIDING HOOD. What IS in the basket, 
Mother? 

Qu'est-ce que c' est dans le panier, ma mere? 

MOTHER. There is bread, and butter, and 
cake, and some ripe apples, and currant jelly. 

II y a du pain, et du beitrre, et du gateau, et des 
pommes milres, et de la gelee de groseille. 

R. RIDING HOOD {taking the basket and dancing 
about zvith it). I love the woods — I love the 
flowers — I love the birds ! 

J'aime les bois — j'aime les ffeurs — j'aime les 
oiseaiix! 

MOTHER, Go quickly, my child. Have a good 
time, but do not loiter along the way. There are 
wolves in the forest ! 

Va vite, mon enfant. Amuse-toi, mais ne 
tarde pas an long du chemin. If v a des hups 
dans le bois! 

R. RIDING HOOD. Good-bye, my dear Mother. 

Au rez'oir, ma chere mere. 
ID 



CHAPERON ROUGE 



MOTHER. Good-bye, my dear. 
Ju revoi?', ma cherie. 

{Exit the MOTHER, L., and RED RIDING HOOD, 

R.) 



II 



SCENE II — In the Woods 

(Curtain rises on forest scene — trees — flow- 
ers — etc. ) 

(Enter RED RIDING HOOD. She wanders 
about picking flowers, humming to her- 
self.) 

R. RIDING HOOD. Here are lovely flowers for 
dear grandmother. She loves flowers. {Sits 
down, L. — plays with flowers.) I shall make a 
pretty bouquet for grandmother. 

Void des fJcurs trcs charmanies pour chere 
grand' mere. Elle aime les fleurs. Je ferai un 
beau bouquet pour grand' mere. 

(Enter the woodsman, R.) 

WOODSMAN. Where are you going, Red Rid- 
ing Hood? 

Ow allez-vous, Chaperon Rouge? 

R. RIDING HOOD. I am taking dainties to my 
grandmother. 

Je prends des bonnes bouchees a ma grand' mere. 

12 



CHAPERON ROUGE 



WOODSMA.N. Do not loiter long, little girl, for 
there are beasts in this forest. 

Ne tardez pas longtefiips, petite pile, parcequ'il 
y a des betes dans cette foret. 

R. RIDING HOOD. Oh! 

WOODSMAN. Yes, there are beasts. There is 
a wolf that is my greatest enemy. Good day. 
Red Riding Hood. 

Otii, il y a des betes. II y a iin loup qui est moti 
plus maiivais ennem'i. Bon jour, Chaperon Rouge. 

R. RIDING HOOD. Good day, Mr, Woodsman. 

Bonjour, Monsieur le Garde Forestier. 

{Exit WOODSMAN, R.) 

(red riding HOOD finishes her bouquet, then 
goes to sleep, down L. Enter the nymphs 
of the JVood, R. and E. The nymphs 
are costumed in green, and carry garlands 
of bright flowers. They dance; discover 
RED riding hood; are filled with glee.) 
THE NYMPHS. {Sing "The Bird," '' E'Oi- 
seau," to the tune of " Long, Long Ago.") 

THE BIRD (Translation not literal.) 

There came to my window, one morning in May, 
A gay little bird, warbling a lay; 

13 



RED RIDING HOOD 



His song of fair springtime, and sweet birdies wee, 
Flooded my soul with its wild melody, 

// vint a ma croisee, tin matin de Mai, 

Un joli oiseati; il y vint chanter; 

Sa chanson si douce me ravil le ca'iir, 

II chantait le printcmps, son nid, son bonheiir. 

His nest at the top of a high bough appeared, 
Where the mother bird no evil thing feared; 
The breeze wafted softly their love's harmony, 
Whispering low, " A blest family! " 

All haut dti grand ormeau je voyais son nid, 

Oil la mere oiseau gardait scs pctils; 

La brise m'apportait leiir joli ramage 

En souffiant tout bas, " Quel charmant menage! '* 

FIRST NYMPH. The sweet child sleeps. 

La douce enfant, elle dort. 

SECOND NYMPii. She loves us. She loves 
flowers, and woods, and birds. 

Elle nous aime. Elle aime les fleurs, et les 
hois, et les oiseaux. 

THIRD NYMPH. The wolf may be near! He 
will eat her ! 

Le hup pent etre prochef II la mangera! 
14 



CHAPERON ROUGE 



FOURTH NYMPH. Let US Call to scc if he is in 
this green wood. 

Appelons pour voir s'il est dans cc bois z'crt. 

THE NYMPHS. {Shi^ " Let US zvalk in the 
IFoods," " Prom'nons-nous dans les Bois." For 
music, see page 4.) 

LET US WALK IN THE WOODS 

Let us walk in the woods 
While the wolf is not in power; 
If the wolf should be there 
He would us devour. 

Prom'nons-nous dans les hois 
Tandis que le loup n'y est pas; 
Si le loup y etait 
II nous mangerait. 

NYMPHS {calling). Wolf, are you there? 

Loup, y es-tuf 

THE WOLF {voice heard off R.). No, I am 
putting on my coat. 

Non, je mets mon habit. 

NYMPHS {singing as above). Let us walk in 
the woods, etc. 

Promnons-nous dans les bois, etc. 

15 



RED RIDING HOOD 



NYMPHS {calling). Wolf, are you there? 
Loup, y es-tuf 

THE WOLF. No, I am putting on my boots. 
Non^ je mets mes boltes. 

NYMPHS {singing). Let us walk in the woods, 
etc. 

Prom'nons-nous dans les hois, etc. 
NYMPHS {calling). Wolf, are you there? 
Loup, V cs-tu? 

THE WOLF. Yes, I am taking my gun. 
Oui, je prends mon fusil. 

{Sings. For music see p. 5.) 

I'm the wolf, Fm the wolf. 
Who will you devour. 
I'm the wolf, I'm the wolf, 
Who will you devour. 

Je suis loup, je suis loup, 
Qui vous mangera, 
Je suis loup, je suis loup, 
Qui vous manger a. 

NYMPHS. Awake, Red Riding Hood! 
Awake, sweet child ! 

Reveille-toi, Chaperon Rouge! Reveille-toi, 
douce enfant! 

16 



CHAPERON ROUGE 



( They sing as above. ) 

Let us flee through the woods 
While the wolf's not in power; 
If the wolf should be there 
He would us devour. 

Sauvons-nous dans les bois 
Tandis que le loiip n'y est pas; 
Si le loup y etait 
II nous mangerait. 

{Exit NYMPHS, L. RED RIDING HOOD 

awakes. Enter THE WOLF, R., and pro- 
ceeds up C.) 

WOLF {up C). How-do-you-do, Red Riding 
Hood ! 

Comment vous portez-vous, Chaperon Rouge/ 

R. RIDING HOOD. I am very well, thank you, 
Mr. Wolf! 

Je me porte tres bien, merci, Monsieur le Loup/ 

WOLF {moving down L.). Where are you go- 
ing, Red Riding Hood? 

Oil allez-vous, Chaperon Rouge? 

R. RIDING HOOD {backing to the R.) . I am go- 
ing to take dainties to my grandmother, Mr. 
Wolf. 

17 



RED RIDING HOOD 



Je vais porter de bonnes bouchces a ma grand'- 
mere, Monsieur le Loup. 

WOLF {down L.). Where is your grand- 
mother's house, Red Riding Hood? 

Oil est la maison de votre grand' mere, Chape- 
ron Rouge? 

R. RIDING HOOD {down R.) . Through this 
wood, Mr. Wolf. 

De I' autre cote de ce bois-ci, Monsieur le Loup. 

WOLF {moving toward her). Good day, Red 
Riding Hood. 

Bon jour, Chaperon Rouge. 

R. RIDING HOOD {terrified). G-G-ood day, 
Mr. Wolf! 

Bon j-jour, Monsieur le L-L-ou-pf 

{Exit RED RIDING HOOD R., running.) 

WOLF. I shall get there first! {Howls.) I 
shall eat her grandmother, and then eat her when 
she comes! {Howls.) 

J'y ar river ai le premier! Je manger at sa 
grand'mere, et ensuite je la mangerai quand elle 
arrivera! 



{Exit the WOLF, R.) 
CURTAIN 



SCENE III — In the Grandmother's House 

(the wolf is in the bed, up L. C. He is 

wearing the nightgown and cap of the grand- 

tnother. Seems expecting someone. There is a 
knock at tJie door.) 

WOLF. Come in, come In ! 
Entrez, entrez! 

{Enter red riding hood, L. If preferred 
she may enter door in flat, up R. C.) 

R. RIDING hood {going to R. of bed.) Oh, my 
dear Grandmother, I am so scared! I met a ter- 
rible wolf in the forest! {Seats herself by the 
bed.) 

Oh, ma chere grand' mere, je suis tellement ef- 
frayee! J'ai rencontre iin mediant loiip dans la 
foret! 

WOLF {behind the bed clothes). Is that true, 
my Child? Put the basket on the table and get 
into bed with me. 

Est-ce vrai, mon enfant! Mets le panier stir 
la table, et fiens te coticher avec moi. 

19 



RED RIDING HOOD 



(red riding hood starts toward table, up 
R., but slops suddenly, turning toward 

WOLF. ) 

R. RIDING HOOD. Why have you such a terrible 
voice, Grandmother? 

Pourqiioi avez-vous une voix tellement terrible. 
Grand' mere? 

WOLF. The better to speak to you, my Child ! 

Pour mienx te parler, mon enfant! 

(red RIDING HOOD puts basket on table.) 

R. RIDING HOOD. Why have you such big eyes, 
Grandmother? 

Pourquoi avez-vous les yeux si grands, grand- 
mere? 

WOLF. The better to see you, my Child! 
Pour mieux te voir, mon enfant/ 

(red RIDING HOOD returns to side of bed.) 

R. RIDING HOOD. Why have you such big ears, 
Grandmother? 

Pourquoi avez-vous les oreilles si grandes, 
grand'mere? 

WOLF. The better to hear you, my Child ! 
Pour mieux t'ecouter, mon enfant! 
20 



CHAPERON ROUGE 



R. RIDING HOOD. Why have you- such a big 
nose, Grandmother? 

Pourquoi avez-vous iin si grand ncz, grand'- 
meref 

WOLF, The better to smell you, my Child! 

Pour m'leiix te sentir, moft enfant! 

R. RIDING HOOD. Why have you such big arms, 
Grandmother? 

Pourquoi avez-vous les bras si grands, grand'- 
meref 

WOLF, The better to embrace you, my child ! 

Pour mieux t'embrasser, man enfant! 

R. RIDING HOOD. Why have you such long 
teeth. Grandmother? 

Pourquoi avezoous les dents si longues, grand'- 
mere? 

WOLF. The better to eat you up! (wolf 
springs out of bed.) 

Pour 7nieux te manger! 

(red RIDING HOOD tries to escape — rushes 
from place to place. The WOODSMAN 
rushes in, L., or may enter up R. C. He 
carries an axe. There is a struggle be- 
tween the WOODSMAN and the WOLF, 
down L. The WOLF tries to escape, but 
is killed.) 

21 



RED RIDING HOOD 



WOODSMAN {down L.). At last, at last, I have 
overcome my greatest enemy! Hurrah! Hur- 
rah ! 

Enfin, en fin f J'ai vaincu mon plus mauvais en- 
nem'i! Houra! Bravo! 

RED RIDING HOOD {down C). But my grand- 
mother, my dear old grandmother! Where is 
she? The bad wolf has eaten her! 

Mais ma grand^mere, ma chere vieille grand'- 
meref Oil est ellef Le mauvais loup I'a man- 
gee! 

WOODSMAN, No ! I have just seen her com- 
ing through the woods. 

Non! Je viens de la voir traverser le bois. 
(woodsman points off L.) 

RED RIDING HOOD. Splendid! (She dances to 

R.) 

Tres bien! 

woodsman. She is picking up wood. She is 
well. 

Elle ramasse du bois. Elle se porte bien! 

RED RIDING HOOD {R.) . Good, Good ! Very 
good ! 

Bon, bon! C'est tres bien! 

(Enter the GRANDMOTHER, L., or up R. C. 
She comes down C.) 

22 



CHAPERON ROUGE 



GRANDMOTHER. Red Riding Hood, dear 
child ! What is the matter ! 

Chaperon Rouge, ma cheriel Qu'y a-t-il! 

RED RIDING HOOD {going to her, C). Oh! 
Grandmother, I came to bring you dainties, and 
the wolf was in your bed! 

Oh! Grand'mere, je viens de toi porter de 
bonnes bouchees, et le hup ctait dans ton lit! 

GRANDMOTHER. Mercy ! Terrible! Who 
killed him? 

Mon Dieu! Terrible! Qui I' a tuef 

WOODSMAN {points to wolf). I killed him — 
my greatest enemy ! 

Je I'ai trie — mon plus mauvais ennemi! 

(The mother's voice is heard calling RED 
RIDING HOOD. They listen.) 

MOTHER. Red Riding Hood, Red Riding 
Hood! 

Chaperon Rouge, Chaperon Rouge! 

{Enter the MOTHER, L., or up R. C. Comes 
down R. C.) 

MOTHER. Red Riding Hood, where have you 
been? It is almost night. {Sees WOLF.) Hor- 
rors! What is this! 

23 



RED RIDING HOOD 



Chaperon Rouge, oil as-tu ete? C'est presque 
nuit. Oh! Oiiest-ce que c'est! 

RED RIDING HOOD. The Woodsman has killed 
the terrible wolf. He was in grandmother's bed. 
He wanted to eat me, Mother. 

Le Garde Foresticr a tue le mechant hup. II 
etait dans le lit de grand'mere. II desirait me 
manger, ma mere. 

MOTHER. My child, my child! 

Mon enfant, mon enfant! 

{Enter the NYMPHS, L. or R. C., dancing.) 

(nymphs sing " To Paris on a Little Pony," 
" A Paris sur un Petit Cheval." For mu- 
sic see page 5.) 

Paris gay, Paris gay. 
On a little pony gray. 

A Paris, a Paris, 

Sur un petit cheval gris. 

Rouen bright, Rouen bright, 
On a little pony white. 

A Rouen, a Rouen, 
Sur un petit cheval hlanc. 
24 



CHAPERON ROUGE 



Verdun town, Verdun town, 
On a little pony brown. 

A Verdiuty a Ferduri, 
Stir un petit cheval brtin. 

To Cambrai, to Cambrai, 
On a little pony bay. 

A Cambrai, a Cambrai^ 
Sur un petit cheval bai. 

Let us now all go back 
On a little pony black. 

Revenons an manoir, 
Sur un petit cheval noir. 

{All join the NYMPHS in a merry-go-round 
frolic, after which RED riding hood 
comes down C. On either side of her are 

the GRANDMOTHER, MOTHER, and WOODS- 
MAN, and surrounding all are the 
NYMPHS.) 

ALL. We are saved! All is well! Long live 
Red Riding Hood! Long live America! Long 
live France ! 

25 



RED RIDING HOOD 



Nous sommes sanves! Tout est hi en! Vive 
Chaperon Rouge! Vive I'Amerique! Vive la 
France! 

(all sing " The Marseillaise," "La Mar- 
seillaise.") 

THE MARSEILLAISE 

LA MARSEILLAISE 

Ye sons of freedom, awake to glory, 

The sun of vict'ry soon will rise; 

Tho' the tyrant's standard gory 

Is uprear'd in pride to the skies, 

Is uprear'd in pride to the skies ! 

Do ye not hear in ev'ry village 

Soldiers fierce who spread war's alarms? 

Who even in our sheltering arms 

Slay our sons and give our homes to pillage ! 

Jllons, enfants de la patrie, 
Le jour de gloire est arrive. 
Contre nous de la tyrannie 
L'etendard sanglant est leve, 
L'etendard sanglant est leve! 
Entcndez-vous dans les campagnes 
Mugir ces feroces soldatsf 
26 



CHAPERON ROUGE 



lis vienncnt jiisque dans nos bras 
Egorger nos fils, nos compagnes! 

Chorus 

{All wave flags.) 
To arms, ye brave, to arms! 
We'll form battalions strong, 
March on, march on, 
Their blood impure 
Shall bathe our thresholds soon! 

Aiix armes, Citoyens! 
Formez vos bataillons, 
Marchons, marchons, 
Qu'un sang htipur 
Abreuve nos sillons! 

O sacred love of home and country. 
Do thou direct each vengeful blade. 
Liberty, so sought, and so cherish'd 
In thy cause now lend us thine aid. 
In thy cause now lend us thine aid! 
Beneath our flag may mighty victVy 
O'erwhelm all their hosts at thy call; 
And grant our cruel foes may fall 
As they see our triumph and our glory. 
27 



RED RIDING HOOD 



Amour sacre de la patrie, 

Conduis, soutiens nos bras vengeurs, 

Liberie, liberie cherie, 

Combats avec tes defenseurs, 

Combats avec tes defenseurs! 

Sous nos drapeaux que la victoire 

Accoure a tes males accents! 

Que tes ennemis expirants 

Voient ton triomphe et notre gloire! 



{Chorus is repeated.) 



CURTAIN 



28 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Wakd Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surpriscrs. The entertainment is a sure success. Price, 15 cents, 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumfokd. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of ihe 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions,' 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight mala 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
(scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Successful Pkys for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE, A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, IS cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a. 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ton or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AITAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price IS cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



LIBRARY OF CONGRESS 



The Power 



^ « . ^ 015 910 034 ^ 

Expression and emaency go nan» ». ..<»•>««. 

The power of clear and forceful expression brings oonfi- 
4ence and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

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thought itself, and thought is power. You can have thi» 
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of himself. 

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The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

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Social prominence 

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Elocution and Oratory, which during many years has de- 
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A catalogue giving full information as to how any of theoe 
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THE NATIONAL SCHOOL OF 

ELOCUTION AND ORATORY 

1714 Delancey Street Philodelplui 



